scholarly journals Effects of underscoring on the perception of closure and intensity in film excerpts

2021 ◽  
Author(s):  
William F Thompson ◽  
Frank A Russo ◽  
Don Sinclair
Keyword(s):  
Motion Picture ◽  
Visual Information ◽  
Film Music ◽  
Weakly Closed ◽  
Musical Accompaniment

In 3 experiments, we examined the influence of musical underscoring on judgments of closure in filmed events. In Experiment 1, a 12 s animated episode was judged to end with greater closure if underscoring was strongly closed than if it was weakly closed. This influence of music was implicit: When asked to justify their judgments, participants mainly cited only qualities of the visual information. Experiment 2 provided evidence that music can influence perceived closure in longer film episodes, but it also revealed that musical accompaniment does not always influence judgments of closure. Experiment 3 examined the effect of underscoring for 12 brief film excerpts from a commercial motion picture. Ratings of closure were obtained for 3 conditions: underscores only, films without underscores, and films with underscores. Again, underscoring influenced perceived closure in films. However, ratings of closure were more heavily influenced by visual information than by underscoring. Other effects of closure in film music are discussed.

scholarly journals Effects of underscoring on the perception of closure and intensity in film excerpts

2021 ◽  
Author(s):  
William F Thompson ◽  
Frank A Russo ◽  
Don Sinclair
Keyword(s):  
Motion Picture ◽  
Visual Information ◽  
Film Music ◽  
Weakly Closed ◽  
Musical Accompaniment

In 3 experiments, we examined the influence of musical underscoring on judgments of closure in filmed events. In Experiment 1, a 12 s animated episode was judged to end with greater closure if underscoring was strongly closed than if it was weakly closed. This influence of music was implicit: When asked to justify their judgments, participants mainly cited only qualities of the visual information. Experiment 2 provided evidence that music can influence perceived closure in longer film episodes, but it also revealed that musical accompaniment does not always influence judgments of closure. Experiment 3 examined the effect of underscoring for 12 brief film excerpts from a commercial motion picture. Ratings of closure were obtained for 3 conditions: underscores only, films without underscores, and films with underscores. Again, underscoring influenced perceived closure in films. However, ratings of closure were more heavily influenced by visual information than by underscoring. Other effects of closure in film music are discussed.

scholarly journals The effect of music background on the emotional appraisal of film sequences

Psihologija ◽  
2011 ◽  
Vol 44 (1) ◽  
pp. 71-91 ◽  
Author(s):  
Ivanka Pavlovic ◽  
Slobodan Markovic
Keyword(s):  
Visual Information ◽  
Film Music ◽  
Auditory Information ◽  
Main Experiment ◽  
Emotional Quality ◽  
Musical Background ◽  
Emotional Appraisal ◽  
Preliminary Study ◽  
S Model ◽  
Sad Music

In this study the effects of musical background on the emotional appraisal of film sequences was investigated. Four pairs of polar emotions defined in Plutchik?s model were used as basic emotional qualities: joy-sadness, anticipation-surprise, fear-anger, and trust disgust. In the preliminary study eight film sequences and eight music themes were selected as the best representatives of all eight Plutchik?s emotions. In the main experiment the participant judged the emotional qualities of film-music combinations on eight seven-point scales. Half of the combinations were congruent (e.g. joyful film - joyful music), and half were incongruent (e.g. joyful film - sad music). Results have shown that visual information (film) had greater effects on the emotion appraisal than auditory information (music). The modulation effects of music background depend on emotional qualities. In some incongruent combinations (joysadness) the modulations in the expected directions were obtained (e.g. joyful music reduces the sadness of a sad film), in some cases (anger-fear) no modulation effects were obtained, and in some cases (trust-disgust, anticipation-surprise) the modulation effects were in an unexpected direction (e.g. trustful music increased the appraisal of disgust of a disgusting film). These results suggest that the appraisals of conjoint effects of emotions depend on the medium (film masks the music) and emotional quality (three types of modulation effects).

A one-dimensional self-gravitating stellar gas

1966 ◽  
Vol 25 ◽  
pp. 46-48 ◽  
Author(s):  
M. Lecar
Keyword(s):  
Gravitational Field ◽  
Phase Space ◽  
Motion Picture ◽  
Space Distribution ◽  
Two Dimensional ◽  
One Dimensional ◽  
Phase Space Distribution ◽  
Dimensional Phase Space ◽  
The Mean

“Dynamical mixing”, i.e. relaxation of a stellar phase space distribution through interaction with the mean gravitational field, is numerically investigated for a one-dimensional self-gravitating stellar gas. Qualitative results are presented in the form of a motion picture of the flow of phase points (representing homogeneous slabs of stars) in two-dimensional phase space.

Investigating the Multimodal Nature of Human Communication

2009 ◽  
Vol 23 (2) ◽  
pp. 63-76 ◽  
Author(s):  
Silke Paulmann ◽  
Sarah Jessen ◽  
Sonja A. Kotz
Keyword(s):  
Visual Information ◽  
Empirical Studies ◽  
Physical Property ◽  
Event Related Potentials ◽  
Accurate Information ◽  
Human Communication ◽  
Channel Condition ◽  
Prosodic Cues ◽  
Early Processing ◽  
Related Potentials

The multimodal nature of human communication has been well established. Yet few empirical studies have systematically examined the widely held belief that this form of perception is facilitated in comparison to unimodal or bimodal perception. In the current experiment we first explored the processing of unimodally presented facial expressions. Furthermore, auditory (prosodic and/or lexical-semantic) information was presented together with the visual information to investigate the processing of bimodal (facial and prosodic cues) and multimodal (facial, lexic, and prosodic cues) human communication. Participants engaged in an identity identification task, while event-related potentials (ERPs) were being recorded to examine early processing mechanisms as reflected in the P200 and N300 component. While the former component has repeatedly been linked to physical property stimulus processing, the latter has been linked to more evaluative “meaning-related” processing. A direct relationship between P200 and N300 amplitude and the number of information channels present was found. The multimodal-channel condition elicited the smallest amplitude in the P200 and N300 components, followed by an increased amplitude in each component for the bimodal-channel condition. The largest amplitude was observed for the unimodal condition. These data suggest that multimodal information induces clear facilitation in comparison to unimodal or bimodal information. The advantage of multimodal perception as reflected in the P200 and N300 components may thus reflect one of the mechanisms allowing for fast and accurate information processing in human communication.

Situational Factors Competing for Attention

2010 ◽  
Vol 22 (1) ◽  
pp. 2-13 ◽  
Author(s):  
Weiyu Zhang ◽  
Se-Hoon Jeong ◽  
Martin Fishbein†
Keyword(s):  
Task Performance ◽  
Visual Information ◽  
Situational Factors ◽  
Sexual Content ◽  
Sexually Explicit ◽  
Explicit Content ◽  
Audio Information

This study investigates how multitasking interacts with levels of sexually explicit content to influence an individual’s ability to recognize TV content. A 2 (multitasking vs. nonmultitasking) by 3 (low, medium, and high sexual content) between-subjects experiment was conducted. The analyses revealed that multitasking not only impaired task performance, but also decreased TV recognition. An inverted-U relationship between degree of sexually explicit content and recognition of TV content was found, but only when subjects were multitasking. In addition, multitasking interfered with subjects’ ability to recognize audio information more than their ability to recognize visual information.

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